Orientalism back?

[Евгений]

Svetoslavsky Sergey Ivanovich (1857 - 1931)
Outstanding Ukrainian artist. Born in Kiev. Was a volunteer Petersburg Academy of Fine Arts, studied at MUZHVZ (y Petrova and Alexei Savrasov). Since 1891 - Member TPHV. In 1905 - 1907 worked with the magazine "Hornet". Master of color. Most of the work is devoted to the nature of Ukraine, the Dnieper species, the Crimea. Created landscapes with genre and animal painting scenes. Lived and worked in Kiev.
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Sales at Christie's 25 November 2003
Oil on canvas (47.3x62.3cm.) "Oriental Bazaar" sold $ 44.614
http://www.christies.com/LotFinder/l...2-72aabe7c06eb

[Lina]

Bure (Bure) Leon Leonardovich
Artist, educator
21/06/1887 - 1943
Biography
(1879, Samarkand - 1943, ibid)
Schedule, Honored Artist of Uzbekistan.
He went to school, VN Meshkov in Moscow (1904 - 1905), attended the workshop FA Roubaud in the St. Petersburg Academy of Arts (1907 - 1912).
In 1911, the caricature presented 100 works on display in Samarkand, and then was harassed for criticizing the colonial policy of Russia.
In 1918, Bure was directly involved in the organization of art school, the only time in Turkestan, and the rest of his life engaged in teaching activities.
Member of the Association of Artists of Revolutionary Russia since 1926. Collaborated in the Uzbek Soviet newspapers and magazines as a cartoonist.
Created a series of political posters. As a painter working primarily on the architectural landscape, largely based on tradition, VV Vereshchagin. Also wrote historical and genre paintings.
In 1927 he participated in the All People's exhibition of works of art in Moscow. Personal exhibition of 30 years of artistic activity Bure, was held in 1936 in Samarkand.
His works are in many museums, including the Karakalpak GMI im.I.V.Savitskogo.

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http://www.liveinternet.ru/users/rai.../post152454968

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NG KHLUDOV

Nick Gavrilovic KHLUDOV was born November 25, 1850 in the Orel province. Primary art education at the Odessa School of Drawing and private art studios of St. Petersburg.

In Kazakhstan came in 1877, worked as a draftsman and later mezhevikom Semirechensk regional government, has participated as a surveyor and artist in expeditions Geologist IV Ignatiev and botany AN Krasnov for the Exploration of the mountain of Khan-Tengri (1886) and Professor IV Mushketov to study Vernenskogo earthquake (1887), was a member of the Turkistan mug lovers of archeology, the founder Semirechensk department of the Russian Geographical Society.

Participate in expeditions, public service, patrols by the surveying of land gave the artist the ability to accurately discern and convey to the ordinary scenes of spirit and originality of the Kazakh people. KHLUDOV paints landscapes, portraits, making sketches of domestic scenes, which he served as the basis for the creation of numerous paintings dedicated to the life of the Kazakh people.

The artist managed to collect and display on his canvases enormous material relating to customs and lifestyle of the Kazakhs, it was only by a person who has great work ethic, tenacity and a thirst for knowledge.

Work NG Khludov kept in museums in Moscow, St. Petersburg, Bishkek, Almaty. The most significant part of his legacy (211 paintings) is stored in the collections of the Central State Museum of Kazakhstan.

[Lina]

NG KHLUDOV

Nick Gavrilovic KHLUDOV was born November 25, 1850 in the Orel province. Primary art education at the Odessa School of Drawing and private art studios of St. Petersburg.

In Kazakhstan came in 1877, worked as a draftsman and later mezhevikom Semirechensk regional government, has participated as a surveyor and artist in expeditions Geologist IV Ignatiev and botany AN Krasnov for the Exploration of the mountain of Khan-Tengri (1886) and Professor IV Mushketov to study Vernenskogo earthquake (1887), was a member of the Turkistan mug lovers of archeology, the founder Semirechensk department of the Russian Geographical Society.

Participate in expeditions, public service, patrols by the surveying of land gave the artist the ability to accurately discern and convey to the ordinary scenes of spirit and originality of the Kazakh people. KHLUDOV paints landscapes, portraits, making sketches of domestic scenes, which he served as the basis for the creation of numerous paintings dedicated to the life of the Kazakh people.

The artist managed to collect and display on his canvases enormous material relating to customs and lifestyle of the Kazakhs, it was only by a person who has great work ethic, tenacity and a thirst for knowledge.

Work NG Khludov kept in museums in Moscow, St. Petersburg, Bishkek, Almaty. The most significant part of his legacy (211 paintings) is stored in the collections of the Central State Museum of Kazakhstan.

[Евгений]

Orientalism at an auction in Leonid Shishkin Gallery.

As always, a good auction, there are good work at reasonable prices ..
1.lot 43. Levinson, M. (1915-2000) PORTRAIT OF EAST
(1960-e) Paper /Watercolor
64 x 48 cm
50 000 - 60 000 rub.
http://www.shishkin-gallery.ru/aucti...34.html#bottom
2.lot 54. Skubko SM (1922-2007) CENTRAL ASIA
(1969) Board /Tempera 43 x 47 cm
25 000 - 30 000 p.
http://www.shishkin-gallery.ru/aucti...54.html#bottom
3.lot 55. Bezukladnikov GA (1928-2009)
After work. Tajikistan (1963)
Cardboard /canvas 50 x 70 cm
30 000 - 35 000 rub.
http://www.shishkin-gallery.ru/aucti...55.html#bottom

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Kashin Nadine (1896, Perm - 1977, Tashkent)

Graphic artist, painter, illustrator. Since the early 1930's in her art becomes the main theme of the East.
Born to a family of icon painter. Sister, artist Nina Kashin.
She studied at the Perm State Art School, the Moscow Higher Art-Vhuteine (1921-27) of Robert Falk and Sergei Gerasimov.
Member of the organizing feature of society "Growth."
Participant of the exhibition of the Painters' 13 "(1929).
From 1930 he lived in Samarkand, in 1932 - in Tashkent.
People's Artist of Uzbekistan.
Hope works Kashina are in the Tretyakov Gallery, timing, regional museums in the former Soviet Union, in private collections.

[Евгений]

Kashin Nadine ( 1896 , Perm - 1977 , Tashkent )
People's Artist of Uzbekistan.
Graphic artist, painter , illustrator . Since the early 1930 's in her art becomes the main theme of the East .
Born to a family of icon painter . Sister, artist Nina Kashin.
She studied at the Perm State Art School , the Moscow Higher Art - Vhuteine ​​( 1921-27 ) of Robert Falk and Sergei Gerasimov .
Member of the organizing feature of society " Growth . "
Participant of the exhibition of the Painters ' 13 " (1929 ).
From 1930 he lived in Samarkand , in 1932 - in Tashkent .

Hope works Kashina are in the Tretyakov Gallery, timing , regional museums in the former Soviet Union , in private collections.
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[Евгений]

Catalog auktsiona.30 Mar 11 Orientalist Paintings and Sculptures - Islamic Art [PF1119] Paris

http://www.sothebys.com/app/ecatalog...nt_id=30563#/r = index-fhtml.jsp? event_id = 30563|r.main = grid.jsp? event_id = 30563 & pg = 1 & view
= 15 /

[Евгений]

Moscow International Art Salon in the CHA .

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The section " Special Exposure " on the 2 nd floor of the CHA ...
" Painting 1950-1980 - E G. From the funds of the International Confederation of Unions of Artists . " It presents works that were once bought the Union of Soviet artists. Despite the difficulties that arose after the collapse of the Soviet Union , the Confederacy was able save these jobs and now has the opportunity to show their viewers .
     In fact , this project - a kind of " fork ", allowing both artist and audience " tune " their perceptions . And to those who participated in the Salon , and those who came here as a spectator - and visitors many artists , including those from other cities and countries - are very useful to compare the works of recognized masters of the second half of XX century modern works , particularly all with their own , although , of course , and the works of those who exhibited at the Salon .

http://news.nv.ru/?p=1875
1.G.Korzhev . " street Bukhara , " 1973
2.U.Taksynbaev " Panj night " in 1965

[Евгений]

Lev Bruni was born on July 8, 1894 in g.Malaya Vishera Novgorod province. In the years 1910-1911 comes as a volunteer at the Academy of Fine Arts in 1912, lives in Paris, visits the Academy zhivopinuyu R. Julien.

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in 1913, returned to St. Petersburg and is actively involved in the work: prints pictures in the magazines "The Voice of Life," "A new magazine for all", "Top" and t.d.V March 1916 participated in a Moscow exhibition of futuristic "Shop "deployed in the shop at Petrovka 17 and organized by Vladimir Tatlin and Alexander Rodchenko, where exhibits Constructivist objects. In 1918, the company participates in the exhibition "World of Art", at the end of the year goes to the South Urals, in Miass, where he teaches drawing and painting in a secondary school. In 1922 he exhibited work at the First Russian Art Exhibition in Berlin. Included in "Merging of new trends in art," chaired by Vladimir Tatlin, participates in two shows this unification. In 1923 he became a professor of graphic, and then separation of the monumental painting faculty of Art Workshops. In 1924, shows work at the fourteenth International Art Exposition. In 1927 he participated in the exhibition of the latest trends in art at the State Russian Museum. From 1930 to 1938 taught at the Moscow Institute of Fine iskusstv.S in 1935, along with VA VAFavorskiy directs studio of monumental painting, performs a series of panels for the Soviet pavilion at the World Exhibition in Paris in 1937, draws up the shop, working in fresco technique. In 1939, draws up the exhibition "Azerbaijan SSR in the All-Union Agricultural Exhibition in Moscow. In 1947, the State Literary Publishing House published "Lyrics" Nizami with illustrations by L. Bruni. Lev Bruni died in Moscow on February 26, 1948.

1.Hudozhnik Lev Bruni 91894 - 1948)
2.Aul. Plane trees. Uzbekistan 1934 oil on canvas 84.5 x61 Lev Bruni.
3. Samarkand. Courtyard. 1934. Watercolor. Lev Bruni.

[Евгений]

DV Sarabyanov
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At the turn of XVII-XVIII centuries, when Russian art is experiencing a difficult and painful process of reorientation, it is stretched to the West - to the new art system sulivshim unusually broad perspective. This was not a violent gust of inspiration, not a sign of artificial inoculation of foreign culture. He walked inside and was not only a natural historical process that was supposed to lead Russia out of the protracted Middle Ages in modern times, but the only possible and necessary - the more so from within the Russian culture during the XVII century matured new qualities.
Their development can only strengthen the European experience, although, naturally, he should not destroy deeper tradition, developed over many centuries - and in any case, the seven centuries of Christianity, trapped behind Russian culture at the turn of XVII-XVIII centuries. Emphasize that the majority of those were the century, when the path of Western and Eastern Christianity parted, and Russia remained faithful to its eastern variant. In its characteristics and should seek the answer to Russian culture - not just the time when art and religion were inseparable, but when the time came secularization. It also has its roots and the eastern component is certainly present in the culture of Russia, but not coinciding with the culture of the East itself.

[SPOILER] All of the above (by necessity brief) does not provide any new and original concept. These provisions shall not again be invoked, although not always accepted. As we know, there is an opposite point of view according to which fracture at the turn of XVII-XVIII centuries has led to distorted faces of Russian culture - more eastern in nature than the culture of European countries, and also served as a pretext for its secession.
We will not go into a controversy around the issue, debating a long time - he will resurface again and again. I assume the positions outlined above, and this preface is necessary only to relate to the situation of fracture all the things that happened in the relationship of Russian art from the east, and that characterizes the attitude of Russian artists of modern times to the East.

Starting from the XVIII century, the art of the East came to Russia in the West, came as something exotic. In the era of the Rococo in France and Germany have circulated all sorts of styling poluchishie in Europe, the French names of names of countries - for example, Chinoiserie. This fashion spread in Russia. On any serious study of the arts of China, Turkey and Persia there can not speak. The meaning of many Chinese pavilions, adorned landed estates, or the Chinese Palace Rinaldi - not to recreate the exact form of a sample. Rather, it is the image of Chinese culture, so unusual and bizarre for the European (including Russian) perception. "Kitayschina", "turetchina" and other forms of stylization of Asian cultures do not fit into the mainstream of Russian art, although it contributed to the education of the eye and the development of artistic imagination.

No "oriental additions" Russian art is not given, and those artists who during the XVIII and XIX centuries, took part in numerous expeditions, departing to the east. They painted faces and figures of people, capture life, but they did it with an ethnographic curiosity, without insight into the nature of Aboriginal life, especially without taking into account the artistic achievements that have mastered these nations (eg, Chinese). "Art ethnography" almost brought the Russian art to the culture of the East, though its tradition sunk to the middle of the XIX century, more and more to satisfy the interest of inhabitants to distant countries and peoples.

Did not introduce radical changes and the movement of romanticism that unfolded in Russia in the early decades of the XIX century. Romanticism in the West, as is known, opened the East, in all its scenic beauty, colorful and "sweet" as a source of new motivation, new rhythms, the hitherto unknown color - in other words, as a source of aesthetic experience. It is known as much to do in this area French painting - and especially Delacroix. As if in response, the Russian Romanticism drew does not look to the eastern countries, and in Italy - happy, sunny land, predisposing to a harmonious union of man and nature. Two generations of Russian artists (Sylvester Shchedrin - Kiprensky and Bryullova - Alexander Ivanov) achieved on the basis of "Italian utopia" of unprecedented success for a Russian painting that inspire later than one generation of imitators.

To the east is Russian romantic painting almost did not show interest. At best he felt in the registry Russian iconographic paintings and drawings - in the presence of a different kind of "Turkish women", or illustrations to the "Fountain of Bakhchisarai. Sometimes some stylistic qualities of art of the Ancient Orient grip Alexander Ivanov, who sought to use them to recreate the biblical antiquity. We found Aivazovsky paintings, scenes of which are crowded scene in the eastern cities. In such cases, the crowds, the architecture and landscape are the subject of ethnographic interest.

 Later, this tradition continues in academic art (for example, Konstantin Makovsky). Realism added little to what was discovered (or rather, it was not open) the Romantic era. Ethnographic interests have remained in force. From this line came out almost creativity VV Vereshchagin, who even before the opening of the theater of war in Turkestan turned to the study of its nature, life and customs of the peoples inhabiting the vast regions of Central Asia. Ethnographic trend intersects with a critical, so characteristic of Russian art 60-ies. When the war unfolded, the subject of the East swept battle genre. Following Turkestan, he then floated in the Indian series, where the artist is not only depict "the history of British India zagrabastanya" (as he put it Vereshchagin), by and created not devoid of poetry and decorative nature studies. And Vereshchagin did not raise the dialogue of cultures. He perceived from the East, while maintaining sufficiently alienated position of the European realist observer, studying and fixing a reality.

In the 80 years began a pilgrimage to the East Vasily Polenov. East needed him, as his time and Alexander Ivanov, in order to make the most reliably reconstruct the history of Christ's life. He wanted Jerusalem's ancient, but along the way he watched and the East, which is magnificently dismissed their Islamic shoots on the ground, where he once was conceived Christianity. In a series of beautiful and embodied representation of the artist's sketches of fabulous countries, partly been contact with their architecture, which further made Polenova recognized expert in the "Eastern style". His znatochestvo he applied at the next stage of development of Russian culture, acting as a scene-painter, opens with V. Vasnetsov new stage in the history of Russian stage design. Therefore, the fruits of comprehension of Eastern culture, which provides creative Polenov, are due more to the era of the late XIX - early XX century.
If you continue to consider, in accordance with the evolution of European art, it should be noted that in the second half of last century Russian painting again did not keep up with the French. As we know, the Impressionists discovered Japanese prints - Russian Impressionists did not notice it.

Summing up a brief conversation about the Russian art of XVIII-XIX centuries and its relationship with the East, we can not (with rare exceptions) to establish direct contact with eastern sources (study tours, special studies, etc.). Russian art of the time had no desire to make even a slight movement towards what is often nearby. The overall picture of these relationships seems stagnant and inactive. In any case, it is clear that there is no any system, there is no purpose and direction, there is no hierarchy and the scale of preferences. Art of the East comes within the scope of attention of Russian artists rather casually. East serves as a kind of general concept - a distant and alienated, like an aggregate of unknown and unrelated phenomena. For two centuries, all those features of Russian culture that any Europeans could seem a manifestation of the east of immobility, a product of Oriental despotism, and in fact - since the days of Ivan the Terrible - were typical exponents of "marginal Europeanism", anchored, went inside and almost did not give a reason for cultural dialogue with the East. Besides painting less than other forms of art contributed to the deployment of such a dialogue.

At the turn of the century delineated fracture, stimulated further change in the attitude of Russian art to the eastern kulture1. First, they emerged from the artists of the "art world". Here we must first recall the illustrations to Lermontov's The Demon Vrubel and his entire "demonianu" shows the interest to the romantic East. Like many other Russian artists turn of the century, Vrubel return to romanticism, the tradition which was interrupted in 60 - 80 years. And now romanticism never misses an opportunity priniknut to the East - it is drawn in the minds of masters like fairyland, filled with a unique mystery and fantastic beauty.
More soberly, rationally, though, and extremely artistic reacted to the East in his later years, Valentin Serov. Portrait of Ida Rubinstein artist created with a clear view of "ancient Oriental style." At the same time, he employed the techniques of fine styling of Persian miniature - in the famous curtain of "Scheherazade", which belongs to the formulation of the absolute masterpieces of Diaghilev's Parisian repertory.

Since the last bound high off Russian scenery and a huge success that have befallen the Russian ballet and opera, received the highest praise from the Parisian public. In the work of many artists that adorned the Diaghilev production (L. Bakst, Serov, Alexander Benois, Nikolai Roerich), Oriental motifs sounded in accordance with the subjects themselves, and how certain components of style, which is particularly impressed by the Parisians, uzrevshim in Diaghilev performances of the true manifestation of eastern elements. Particular success has made Leon Bakst, hitting spectators bright colorful and intense decorative harmony in the costumes and scenery for "Scheherazade." Meanwhile, among the "Westerners" World of Art Bakst was the most consistent in the Western-orientation. Feeling French and pan-thirsty new interpretation of oriental culture, as he would back Europe's own "oriental debt in the form of bright scenographic findings meet the needs of the Parisian public. The latter believed that the essence of the eastern Russian mentality was a kind of translator, which allowed to realize such a wonderful colorful extravaganza East.

Could be listed, and other manifestations of eastern interests in the artist's "World of Art". Suffice it to recall an amazing mix of Russian cheap popular style with refined Japanism elegantly effected by Ivan Bilibin, sophisticated styling of Chinese painting in the set design by Alexander Benois, Nikolai Roerich oriental habits, and later forced him to leave Russia and to give a good half life of their new homeland - India, romantic Caucasus Eugene Lancere . In this diversity is not surprising. Masters of the World of Art developed within the Art Nouveau style, who used a variety of sources for creative styling. It should be noted that in the search image of the East miriskusniki close to those limits, which have achieved in this area by Western European masters, expand their creativity in the Art Nouveau.

In the West, in this style fits a wide Japanism passion, attraction to medieval China, to the decorative Javanese heritage (Holland) and finally, the attention to decorative culture of ancient Egypt. Continue east to come to Russia by a roundabout way - through the West. But this way more often spawned unexpected findings and the original opening.
Indicative in this respect, the next generation of creative artists - Pavel Kuznetsov and Kuzma Petrov-Vodkin. (I am not referring in this review, creativity, and G. M. Saryan Yakulov, although associated with Moscow, but of equally Armenian painting). They are united not peculiar to artists of the preceding century sense of reverence for the East, where they thought life was a natural, organic. East appeared as on their minds as a fabulous planet, similar to an earthly paradise without the knowledge of sin, and not waiting on the people inhabiting it, no atonement.

Sometimes in this idyllic features stood out barbaric primitiveness, but they do not infringe the sublime ideal of the representation of the East, which gave rise to the works of Russian painters. This was precisely the image of the East.
But gradually started (it arises from miriskusnikov) is a professional conversation with the East, during which the languages ​​of art to get closer, it becomes possible to study other people's experience of plastic. True, it was dominated by the ideas of creating a general image of "East of Paradise" - a holistic, total, not dismembered national and religious peculiarities. Here, the most consistently incarnated that new romanticism, as discussed above, and to have achieved miriskusniki, adds some new discoveries.

Pavel Kuznetsov, inspired by Gauguin's retrospective exhibition, seen by him in Paris in 1906, went from his hometown of Saratov in the trans-Volga steppe and then to Bukhara and Samarkand. Already past art symbolism, perceived by Borisov-Musatov, Kuznetsov found for this new concept of symbolist fertile soil. He has become like a naturalist, ethnographer, fixing nature, people, people's life. Steppe appeared before him as a country, where the harmony of its component parts reveals itself with all the plastic clarity. Steppe, life goes on eternal law, in accordance with a strict hierarchy of lasting value. Its laws and values ​​nepokolebleny time - they exist today, and have always been: not a "timeless", but "at all times." Most often, Kuznetsov captures the scene in the landscape. Women employed the usual things - feeding, or shearing sheep, stretched out on the steppes of the yurt, nipping the grass camels - all this fits into the open space, consistent with a flat far horizon, sky high. In his paintings there is no action, no sudden movements and sharp rhythms. Gen. reincarnated into being. Here again dominated found, and then repeatedly repeated rotations of figures, gestures, full of majestic sculpture and an amazing accomplishment. Essence of beauty lies in full view, but the viewer is not given to enter into - this side of life available to him. East remains a dream, a kind of utopian way, and look from afar and are the same romantic dreams.

Best "steppe", and then Bukhara songs, so balanced, iyvereny that do not tolerate the thought of breaking the plane of itorzhenii the limits of the scenic area, separated from the viewer, but open to the depth of infinite space.
Thus, despite the fact that he traveled Kuznetsov and proceeded this earth, their hands touched her reality, he seems to be pushed back it as a myth. If we compare Kuznetsovsk paintings with works inspired him Gogena, we can conclude that the latter - also a perfect world, but he seems to be mastered. The artist got in, found him a place. Pro. Kuznetsova, so do not say, although the country that inspired him to create "a series of steppes, much closer to his native Saratov than distant islands - the home of Paul Gauguin. Kuznetsov has created a certain image of Arcadia, which "was not, and if introduced it in his imagination.

In connection with the work of Kuznetsova and there are still some problems, is essential for us. Looking at his work, not to say that in creating their "dream steppe, he was indifferent to the very art of the East. It's safe to say that he was interested in Japanese and Chinese art culture. Recall "Still Life with Japanese prints" (1912), where the very subject of the image dictates the features and graphic language, and composition. Perhaps influenced by Kuznetsova and Turkestan ornament, with whom he collided in the steppes, and ornamental crops ancient cities of Central Asia. At the same time in the field of his attention could be and Indian sculpture, as in the plastic pieces of paintings "steppe series felt its reverberations.






 



















 

[Евгений]

During the evening auctions of Russian art Sotheby `s in London was raised an impressive record for the artist Vasily Vereshchagin: his painting" The Taj Mahal. Evening increase in price during the bidding at ten times, was sold for £ 2,23 million

Auction of Russian Art Sotheby `s has brought impressive results: painting sold for £ 14 million, delivered three records for the cost of works of Russian artists. The most impressive - for Vasily Vereshchagin, a renowned painter of battle-pieces. But no military operation brought him success: "Shipka Pass is not sold," the march "went for a modest £ 400 thousand

Incredible growth in the price shown works by artists from India series - one of those Masterpieces brought back from a trip to India in 1874-1876, respectively. This small canvas "Taj Mahal. Evening - one of several species of the mausoleum, which made a strong impression on the artist. Vereshchagin wrote mausoleum in bright sunlight (this option is now in the Tretyakov Gallery), in the evening to answer the sunset and the morning, in a gentle haze. Evening option, derived from the American collection (sold in New York in 1891), Sotheby `s estimated at £ 250-450 Bidding began with thousands of £ 200 thousand, and after a ten-minute struggle, which included the buyer from London Hall, clients on the phone, ended up on the sum of £ 2 million, prompting applause from the audience. The total amounted to £ 2,3 million and a record at auction for rare works of Vasily Vereshchagin.
http://www.kommersant.ru/doc/1655832